In this episode, I had the pleasure of speaking with painter Stephen Maine, who lives and works in West Cornwall, Connecticut, and whom I recently visited in his studio (though we spoke remotely for this interview). We explore his idea of the “color chord,” how he made peace with colors he once avoided, and his use of plates—a method he invented that is as much about streamlining as it is about surrendering control. We also discuss his ideas of mimesis and residue, the shifts in his work over time, what makes a painting truly satisfying, and the pleasures of discord and the off-kilter.

I float the idea that his work might be involved in a kind of psychedelic transcendence (though he’s not convinced), but we have a very lively conversation and find a lot of points of interest and connection. I am reminded of innards, intestines and digestion by the marks in some of his most recent large scale work, and of some image of creation itself. We also touch on his enjoyment of funk music, and how it may or may not  be some kind of parallel sensibility to his work.

Stephen’s work is currently on view in What’s That Sound Everybody Look What’s Going Down, a group show at Private Public Gallery in Hudson, NY, through October 5th. I hope you enjoy our conversation as much as I did!

https://www.stephenmaine.com/

https://privatepublicgallery.net/

https://twocoatsofpaint.com/2023/02/stephen-maines-hands-off-abstraction.html

Funkadelic, (Not Just) Knee Deep:
https://youtu.be/diLayOqVYUs?si=S6BelNO-Tjb9fluF